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That shouldn't be a problem. The 'sleeve' connector on patchcables handles the common groundplane amongst anything connected with them. One bit of advice, though...feed both the Befaco and TipTop power supplies from a common AC source to avoid potential ground loops over the patchcables. If you use power strips or conditioners such as the Furman rackmount variety, feed both cabs' AC from the same one.
Sometimes its cache, sometimes its not. I've often noted a problem in embedding a rack into a forum post where, if the rack wasn't previously recognized properly by the screenshot mode, it won't come up with the proper layout in the forum post. As a result, I've gotten used to always making sure that screenshot shows the right build iteration prior to embedding the rack's URL in the forum post. That always works.
Yep, that's exactly what I meant...and this layout looks quite good, indeed. It follows what I call the "up-left/down-right" pattern, where control signals move upward on the left side toward the voicing row(s) at the top, from where the audio flows back downward on the right side through mixers, modifiers, processing and then the final mix. It's a really intuitive type of layout, making it easy to sort out where a problem with a patch might be located, aside of simply making the whole mess easier to control in general. And in between the "control-in" on the bottom left and the "audio-out" on the bottom right is the perfect place for a controller, as it's a simple reach from that in either direction to make changes to your major global functions. Nicely done!
I have arranged the modules in the rack I’m building today in a manner that seemed logical from a workflow perspective:
Not shown is a T-Rex Replicator, which will be housed in a separate 104 hp cab.
I’m going to use Rene, Pamela’s New Workout, a Social Entropy Engine, and an Analog Four as CV based sequencers. Additionally, a Neutron and 0-Coast will be integrated.
I’d be really interested in getting your thoughts on the arrangement of modules. My thoughts here were as follows; keep the sound sources on top and the key mixer modules within easy reach. Alls LFOs, envelope generators, attenuverters, and modulators are occupying the middle rows. Clock and sequencer on the bottom left (also the Lapsus Os, as it can function as a “master attenuator”. Filters and FX on the right with a top to bottom signal flow and the Fusion VCA as main out.
Audio will go into a Unit Audio Microunit (passive summing mixer, requires pre-amp post sum out), through an ART TPS-II, and into an Octatrack for FX and other mangling.
Pardon my ignorance, but how does the output of a modular setup differ from the output of a normal hardware monosynth? People have been plugging those straight into audio interfaces in home studios for as long as digital conversion has been with us, and you just watch your levels since its obviously much hotter than other sources (like a dynamic microphone or a bass guitar).
Some electronic artists even run their synths thru outboard preamps just for punch / warmth / grit in the studio, even though amplification is not needed and that could probably compound the problem of a really hot signal.
You need both for different purposes. I have a bunch of different mixers/VCAs for both cv and audio in my modular, and I have a Tascam Model 24 on the way that will allow me to fine tune final outs, and record many different outs into an SD card all on their own track to then put into Logic later. People who think you can just plug modular stuff straight into an audio interface without any drawbacks are smoking something; even audio out interfaces within eurorack can be quite different--my Vermona TAI-4 has transformers for both in and out that make a sort of pleasing saturation that make the exact same sound source sound better when I output it compared to more generic output modules (or none at all).
I’m between worlds. I love my Mackie for general studio context but I really want to be able to take a balanced 1/4” stereo output straight into some other system and show up armed with only an Intellijel performance case...
The issue, as I see it, is upstream. Eurorack went from 1) being an implied monosynth to 2) being an awkward groovebox with clunky, expensive panning/mixing/sequencing/FX and some units like Clouds which are fully stereo, to 3) being an implied multi-voice studio-in-a-box but still struggling with the basics for a variety of reasons (some of them market-driven and not easily solvable).
The makers of the larger “performance mixer” modules have taken a slightly self-defeating approach: there is almost nothing “modular” about these units, and they make all sorts of assumptions about what users want to actually do. Even the makers of smaller “stereo mixers” such as Erica Synths—who I love I should say—have made some really curious assumptions about stereo placement. Why should only one channel be pannable and why only via CV?
To give you an example, my system is three voices. I don’t need four or even six channels, but I desperately want free panning and multiple stereo FX returns. I have no need for CV control over anything, and I prefer to mute CV rather than audio for cleanliness.
I prefer small modular solutions which are chainable or interact in some way to create the right solution for me. Intellijel’s Mixup was an excellent purchase for me because it gives me two mono channels and two stereo channels. I can rig up a dry mono voice (bass/kick), wet mono voice, dry stereo voice, and wet stereo voice in 6hp.
I really liked the look of Knob Farm’s Hyrlo and Ferry modules but was unable to purchase before they sold out. FX send in 6hp sounds right.
I would prefer to support small MODULAR solutions and create workarounds to the rest (ask me about my FX send woes some day lol) using attenuators, VCAs, mixers, and switches which are all stock eurorack components and always able to be repurposed, rather than invest in a massive thing that won’t always suit me. That was why I got into this.
I would like to use it in a separate rack from the one with my other daisy-chained power busses.
I also have spare a TipTop Zeus Access (with a Universal Power Supply) (http://tiptopaudio.com/zeus-access/)- this only has connections for +15v and GND, though.
So MI has re-launched the Tides module with some subtle changes / updates, the biggest change are the 4 outputs. Anyone have any hands on experience with the new one, or potentially BOTH versions to comment on it?
From just reading descriptions and watching a couple Youtube videos - I am having trouble understanding what is possible with the 4 outputs now that was not possible before. Its also hard to tell if the expanded output capability really just applies when using it as a sound source, or also when used as a modulation source.
I was considering adding a Tides to my small but growing rack for super slow, evolving type modulation, but now I am torn on if I should hold out for a new one or buy the original used for $100 less.
Request again for narrower racks please! ;-)
-- JohnLRice
O.k. 20HP min it is.
Working themes are Pittsburgh Cell Style and Geeklapeeno Cluster.
Everything else looks like an impossible Escher theme.
-- modulargrid
@Lugia: Thanks for the suggestions! The semi-modulars will stay in their respective stand alone cabs, for sure.
I do have a Keystep, but thought I’m already set with having Rene, Pamela’s New Workout, a Social Entropy Engine, and an Analog Four as CV based sequencers.
When you say configuration testing, are you referring to the arrangement of the modules or the suitability of such an arrangement for efficient patching? I have arranged them here on this site to make sure they all fit and also moved them around in a manner that seemed logical from a workflow perspective:
Not shown is the Replicator, which will be housed in a separate 104 hp cab.
I’d be really interested in getting your and others thoughts on the arrangement of modules. My thoughts here were as follows; keep the sound sources on top and the key mixer modules within easy reach. Alls LFOs, envelope generators, attenuverters, and modulators are occupying the middle rows. Clock and sequencer on the bottom left (also the Lapsus Os, as it can function as a “master attenuator”. Filters and FX on the right with a top to bottom signal flow and the Fusion VCA as main out.
Mother 32 sends what are usually Gates to the Quad VCA Channel 1 CV Input, but can adjust the envelope of the Gate with Attack/Decay Knobs and Sustain Switch
ASSIGN Out is in Value #3, so it outputs a +5V Gate at half the input clock rate
There is a 16-step sequence programmed in, pitches dont matter but there is a rhythm created by a combination of Gate ON and OFF steps
Overview
A simple techno patch using BIA and Peaks for Sound Sources, some modulation, and a Korg SQ-1. Other than the OUT from the ADM10 Kompressor, all other patch cables that start or end outside of the rack are those involved with the SQ-1. The patch is based on ideas presented by James Cigler in his BIA "how-to" video: .
Playing the Patch
Adjust the following to achieve variety and interest:
- Mix3 Kick Drum Volume (Channel 2)
- Quad VCA Channel 1 Volume
- Quad VCA Channel 1 CV Depth
- Mother 32 EG (sent to BIA Attack Rate and Quad VCA Channel 1 CV
- BIA Register (start in Bass but can change later on)
- BIA Algorithm (start in Skin but can change later on)
- BIA Spread, Harmonic, Morph (start CCW), and Fold
- Peaks Knob 2: FM Intensity
- Peaks Knob 3: FM and AM envelope decay time
- Peaks Knob 4: Colour
- Mother 32 Sequence Reset
I have a similar issue to this. I submitted Magpie "micro" faceplates for a few of my modules. uGrids, uTides, Twists, Shades and Plancks. Granted they don't have knobs and information, I simply wanted to see the footprint and layout of them in my rack. Now I do not see them when I search.
However, I changed the manufacturer to Other/Unknown and they all appear. Perhaps the new default search omits other/unknown modules to avoid clutter?
I use a mackie 1202VLZ4. Straight from my modular to the channel inputs using a 3.5mm to 1/4" hosa cable. works perfectly, and I have never had any issues with levels.
Much of the problem has to do with the maximum headroom allowable on small mixers. Some of them are capable of being attenuated down to a level where they can handle typical audio levels coming off of a synthesizer. I've done this a few times with my Mackie 1202...but we're talking about a 25-year old original 1202, which was a bit of a different beast than the present-day Mackies. I've read some accounts of how the Allen & Heath ZED series is also capable of dealing with the high incoming levels, also.
Another alternative to an in-cab performance mixer that would allow you to route directly to an outboard mixer would be any of the various output modules. Since these are designed to step down the levels to line-level, a bank of several of these would also make for a cost-effective and space-saving option. Ladik has several options here that are worth examining, such as their P-530 dual output module which offers attentuation plus 1/4" outs that should interface easily with any outboard mixer you can think of. In 16 hp, you could have trimmable eight line outs for only $160. Frankly, that seems like the best option, leaving you free to use whichever mixer suits your performing needs.
I am trying to set up my first Eurorack performance case and I am struggling with thinking about doing a final output mixer. I have been reading the Patch & Tweak [1] book and was surprised to see references to using external analog console/performance mixers. In the section on recording (p. 85) the authors use the Soundcraft Signature 12 MTK as an example and also make reference to the profile on Hataken and his use of the Roland MX-1 (p. 108-110).
The surprise is due to the fact that I have heard multiple mentions in the Why We Bleep [2] podcast that people using console mixers want to replace that functionality with something in the case. Additionally, even Hataken mentions that he would prefer to have a Eurorack mixer to take the place of the MX-1.
I am already aware that the audio signal levels are way hotter voltage-wise coming from Eurorack. However, my first set of questions are:
Can you still plug directly from the last output in a Eurorack audio signal chain into an external analog mixer?
Is it just a matter of making sure the mixer has analog gain level that can be turned way down or are people still using come kind of Eurorack module to convert the audio signal to line level before sending it to the external analog mixer?
If this works, is it as simple as using a cable with 3.5mm on one end and 1/4" on the other?
My second question is just the more general one: does anyone see mixing outside a Eurorack case as more than just a total nuisance? The reason an analog mixer is so attractive is because mixing is A) super important, and B) something that seems hard to justify rack space to when I am working on my first case. For the former point, it would be nice to have some mix capabilities beyond just volume and panning. EQ and sidechaining, for example. On the latter point (B), consider that some of the performance mixers that get a lot of praise are things like the Befaco Hexmix with its Hexpander or the WMD Performance Mixer. But those would take up 40 HP (WMD) to 56 HP (Befaco). In addition to off-loading the rack space, those other mixers would be cheaper, too, which is a big consideration.
Finally, I'll also mention that I have been reading other comments here on MG in response to other first-timers [3] that when getting started it is unwise to ditch one's current gear [4]. I have a couple of Volcas and an old GM Yamaha keyboard that I'd like to integrate alongside the Eurorack. It seems this would be another area where the external mixer might shine.
Anyway, I'm just trying to take advantage of this great community and here from everyone's experience about the things you can't possibly know without experience. Thanks in advance.
Here's the references for any other new folks like me:
This rack is real, it uses a Mother 32 as a core and adds modulations, fx, one VCO and one VCF as as well as random sources (S&H, Turing Machine) and 2 quantizers and 2 attenuverters. Multiples are distributed on all lines to ease patch settings.
I'm really happy of this rack that is coupled to a MiniBrute 2S, A Behringer Neutron, a Behringer Model D and a Roland Aira System 1m. A DrumBrute Impact is also not far from all this stuff. All synths are contrôles using USB or CV/Gate from either the Mother 32 (that is often used as a Midi to CV/Gate for the Eurorack itself), the MiniBrute 2S Sequencer or the machine itself (used as a Midi to CV/Gate) or the Doepfer Dark Time "analog style" sequencer (the device itself is digital but looks like an analog one).
All machines are connected to a FocusRite 18i.
Most used DAW for Eurorack recording, jam : Bitwig 2.x
Also used Ableton Live 10
Well, out with the old year, and in with the new. 2019's here, Winter NAMM's right around the corner, and while this month's hot Eurorack offerings are a tad sparse, much of that is certainly due to manufacturers keeping mum about their new surprises until they hit the floor in Anaheim later in January. But here's a few picks to tide us over until that post-NAMM deluge in a few weeks:
1) Pharmasonic ON IT AGAIN! Back in the last installment of KICK ASS!!!, this Japanese maker dropped a fantastic bombshell when they did a big reissue of many of the much-vaunted Digisound Series 80 modules in Eurorack format. But to do a second line reissue a month later? Wild! And yet, there it sits...Pharmasonic's redux of the key modules from Roland's classic semi-modular, the System 100. Not to be confused with the fully-modular System 100M, the System 100 was more like Roland's take on something like the ARP 2600, which came in a number of “blocks”; the 101 was the main keyboard synth, the 102 was its expander, there was a dedicated mixer (the 103) and sequencer (104) and you even could get a matching monitor pair, the 109. From this, Pharmasonic's given us the System 100's VCO, VCF, VCA, LFO, an ADSR EG, 3-in and 2-out (in parallel) mixer, noise gen, ring mod, sample and hold, and an otherwise-inaccesible pair of inverters that share space with a trio of mults. They're very simple but quite cost and space-efficient, with the majority of the line weighing in at 6 hp, making them great candidates for filling small spaces with an extra bit of functionality. Now I'm wondering what Pharmasonic's going to do in January! Oh, and one more Pharmasonic bit: the Digisound Dual ADSR is also now available: $159, 12 hp.
2) Tesseract Modular 8x8 Buffered Matrix. This has “live performance” written all over it. A set of eight rotary switches that allows for quick resetting of signal paths, the module can also serve as a buffered multiple, but that's only a hint of what this is capable of. Any combination of inputs and outputs is possible...1 to 8, 2 to 4, 4 to 2, and so on. It does limit what you can do with inputs, though, as you can't send several inputs to one output. Even so, for live performers this will be a real blessing, as it's able to change routings on the fly as long as the module's been prepped for the in-set changes. Available in kit or prebuild. Roughly $106, 12 hp.
3) Doepfer A-135-2. Really, what this is is more or less a repackaging of Doepfer's A-135-1. But it's significant nonetheless because while the 135-1 was a not-so-space effective 18 hp, this new iteration gives you the same functionality in only 8 hp, with 5 mm less depth and $56 off the original's price. Very cool! Dieter seems to be looking out for users who need maximum bang in minimum space with this one, which seems to me to be a very logical pick for users who need a handful of linear, DC-coupled VCAs with summing in a tight space. Accordingly, quite a few MG users have already picked up on this module, but it deserves a look from anyone who's planning a space-restrictive skiff build, plus anyone who needs lots of VCAs but doesn't like layout sprawl. $134, more or less.
4) Ladik M-172 mixer. This is pretty much the logical follow-on to Ladik recent 12 hp stereo mixers, but this is kind of the configuration I was hoping we would eventually see. You get four pannable inputs and a stereo input pair with a balance control, all outputting to a 1/4” stereo pair of line-level outs. This is an awesome budget-conscious stereo mixer, with built-in output staging and the potential for using the stereo input to mix in stereo effects. The depth's a bit sizable at 60mm, but if you can swing that, the price is the real convincer: $94 at current exchange rates! That makes it one of the more cost-effective stereo mixers out there, with the plus of not needing a separate output module making it an even cheaper choice.
5) Antimatter Audio v3kt. Now this is super-interesting...a module that allows for quad panning, vector control over either audio or CV signals, internal logic over CVs, and probably a pile more functions that just aren't readily apparent. But looking at the given functions in the listing, I'd have to say that this has super-high “abuse potential” with either a joystick or other modulation signals fed to its various inputs. A lot of people could make use of this: live performers should dig the ability to joystick audio around via this in a quadrophonic space, generative-type users will find loads of uses here for morphing/altering modulation behavior and mixing, and most anyone will appreciate the ability to morph smoothly between four different audio sources in a quad X-Y space. The other thing that's a killer is the space it requires: only 6 hp! This should make it a must-have for anyone who's got a joystick in their builds, as it requires minimal space to blow that joystick's functionality wide-open. $199.
And that's pretty much it for the December 2018 offerings. Like I noted, the real deluge is coming in this first month of 2019, so keep your eyes peeled! Until then, happy new year, all!
I think the layout is good. If the sources come from the left and the outputs go to the right, a "valley" will be created down the centre to allow easy access to the mutes. I suppose if mounting the middle in the far right of a case it might be preferable for outputs to go back to the left but I can't see how either option will please everyone.
Really useful info. Indeed the maths and O-coast have come up in various threads I've read and I do like the look of them for sure.
As a core first noise maker, I'm sort of between the O-Coast and the Dreadbox Erebus V3.
I come from an drone/ambient and noise background and either of these seem like plenty to get me started for sure. Anyone have any experience with the Erebus??
I think your "problem" is fairly common and constitutes the addictive component in eurocrack : the perpetually missing link which incites you to buy more modules only to realize that you aren't able to fully exploit what you've already got. An occasional remedy is to empty your rack and then just fill one row to concentrate on a few modules --- and stop looking at buy/sell pages ;) (for a short while anyway).
What will you be using it for? And how did you post the rack screenshot?
-- liquid_air
I use it in addition to my Eurorack #1, which is (nearly) full. :-)
This Eurorack #2 here will be filled in the next months ...
My both cases here (Eurorack #1 and #2) are always a copy of my real cases. As documentation for me and for links in my signature at Muff Wiggler forum.
I do not use ModularGrid for planning, as most other people do. Planning takes place in my head or on paper in my "music lab". :-)
What do you mean with screenshot?
I only commented my case, and in this way a forum thread was automatically created. The picture is no static screenshot, it is automatically updated when I change something on my rack.
This is getting hard to wrap my head around. I thought I could stop at 6u 84 and be content but clearly that was naive. Recently Ive reached a bit of a plateau and it's become painfully clear that I'm not using modular in anywhere near the capacity it offers. Just expanded by another 3u 84 and bought a couple new modules (ornament and crime, tiktok), but I'd love to get some outside views on ways I can expand my potential most efficiently. Most modules here are owned minus Pico drums, tangle quartet, batumi, quantum rainbow and 3x MIA. I'd like mostly to make semi-ambient / chords with a lead, strange techno / rhythmic loops, and general bass sound design. An expansion to 12u is most likely (but I'd like to see it contained there for a moment). I have a neunaber wet guitar pedal for reverb and a pocket operator for simple drum beats. If anyone can identify strategies I'm not taking advantage of, I'd be grateful to hear your thoughts. I'm starting to get confused, albeit immersed in a beautiful chaos. Thank you for your time and consideration & I love this community.
Well, a few things...first of all, if you have something that's already in a case, keep it in its case. I'm sure there'll be a temptation to put the 0-Coast and/or Neutron in your Eurorack cab, but you need to resist this. Keep the cab free for things which don't have the convenience of already being in their own case...it allows for more space, and in the end it's much more cost-vs-space effective.
The module compliment sounds decent...but have you attempted to do any test builds of the system on here yet? I really suggest that if you haven't, you should do so. The fact is that, while you could do your configuration testing with the physical devices, it's not really the best idea to be taking them in and out numerous times. The likelihood of damaging something, such as pins on your distro boards, stripping a screw and so on might seem minor, but they can add up to a major hassle if they accumulate. You can also get some clues as to how you'll want to implement that second 104 hp case from how the first case gets put together.
Third, consider your controller situation. You'll definitely want something at hand that has a typical black-and-white keyboard and CV/gate outputs. My suggestion would be to snag an Arturia Keystep...not expensive, plus you get a polyphonic step sequencer, chording modes, an arpeggiator in the deal, plus some ribbons for pitch and mod expression. Adding a Beatstep Pro to this would also give you more (and more complex!) sequencing with onboard quantization, plus an additional pad-based controller, again for cheap.
Sounds like a good start, though...that's a well-considered list.
Not too bad...just be careful to use only one VCO in square wave (that was what the TB-303 had) and only the lowpass setting on the VCF. Granted, the Neutron's VCF is 2-pole, not Roland's weird 3-pole LPF, but in the right parts of the range and with perhaps a tad of overdriving the filter, you should be right in the ballpark. Again, the sequencer is the key here...that odd non-linear glide that the original 303 has is another great example of a "wrong" design doing something "right", sort of like Moog's CP3 mixer.
-- Lugia
Thanks!
Although I think I have a solution, I'm still interested to know how experienced patchers would activate the CV control for the glide of the x0x heart module. For me, with the DAW doing the sequencing via MIDI, I would reach for a second MIDI channel just for the glide control, switching the glide on and off via "note on" and "note off" messages from the DAW that produce a gate output from a MIDI-to-CV module. (Another MIDI channel and MIDI-to-CV would handle the real notes.)
But I intuit that my first idea probably isn't the best one.
I’ve finally jumped into modular synthesis. I initially wanted to add a few FX to complement my pedal bank. I am into Techno and Rave and hence like reverb and delay drenched analog monophonic synth sounds.
Here is the system I am currently building (as in all modules are already here or will arrive next week):
Additional sequencers and semi modulars:
0-Coast
Neutron
MiniTaur
Social Entropy Engine w/ CV
Analog Four CV
As I have plans for a “surplus” 104 HP, looking for ideas to complement this system.
I currently have on my radar: uJove, Three Sisters, Marbles, Manis Iteritas, and some quantizer
Rings Parameters
- Quadraphonic Polyphony (Red)
- 2-operator FM (Blinking Green, hold Synthesis Type Selection Button when in Modal Synthesis mode to access this Expert Mode)
Disting Parameters
- Straight forward but Z Knob is set to neutral so no Z jack colour
KeyStep Parameters
- Clock: Internal
- Rate: 12 o'clock (approx. 1/4 note = 70bpm)
- Arp Mode: Order (arpeggiates notes in order of when they are played, with new keys added to a held chord to be played at the beginning of the next cycle)
- Time Div: 1/4
- Octave: 1 above middle C
- Chords Used (actual pitches are a tritone below played notes on the KeyStep)
On KeyStep: GMAadd2, FMIadd2, and Eb7#5 (Whole Tone)
Actual Pitches: DbMAadd2, BMIadd2, and A7#5 (Whole Tone)
Throughout the recording notes are added to the 7#5 chord like a low 2nd and others, so much of the whole tone scale sounds at some point in the piece
Overview
- A simple patch where arpeggios from Arturia Keystep are sent to Disting G7 algorithm (MIDI-CV) and the Pitch and Gate information are sent to Mother 32 and Rings in different ways
Colour Scheme
- Irrelevant here, because I didn't need to keep things separate given the simplicity of the patch
Not too bad...just be careful to use only one VCO in square wave (that was what the TB-303 had) and only the lowpass setting on the VCF. Granted, the Neutron's VCF is 2-pole, not Roland's weird 3-pole LPF, but in the right parts of the range and with perhaps a tad of overdriving the filter, you should be right in the ballpark. Again, the sequencer is the key here...that odd non-linear glide that the original 303 has is another great example of a "wrong" design doing something "right", sort of like Moog's CP3 mixer.
Still not bad, even with the extra space taken up by the MI modules.
My take on the Mutable thing is this: if Olivier comes out with a successor device (as in Plaits succeeding its predecessor, Braids), that would tend to indicate Mutable's signed off on those earlier designs, so copy away. I do see his point about the currently-active parts of his line, though...but at the same time, there's two points that nag at me. First up, the main reasons why I myself would use the Codex Modulex clones would be 100% based on their size. If Mutable could give me a Veils in 8 hp, I'd certainly rather have that...but Veils fits in 12, and when you need to cram functionality into limited space, hp count is everything. After all, it's why 2hp and Erica's PICO series seem to turn up in a vast amount of builds...people get that point.
The second thing is that open source insistance. Several years back when there were far fewer Eurorack manufacturers, that philosophy make way more sense. But now, in times where massive retailers such as Thomann and Sweetwater sell Eurorack gear, when there's a pile of manufacturers vying for business, open source is a BAD idea. If Mutable's module designs weren't as amazing as they are, Olivier Gillet wouldn't have this problem. But those amazing designs are a double-edged sword if they're not carefully managed like other important intellectual properties. Open source is applaudable...unless the concept boomerangs back around to kick your own ass, then it's very much a royal pain! This isn't like other firms just wholesale ripping off other firms' designs; there's a tacit "approval" for these designs to be used by third parties. But I think some better foresight about modular synthesis's exploding desirability might've been useful here.
My 2 Cents... Having been in modular synthesis now for 3 or so years... and making mistakes, etc. Here is where I would suggest to start. Now, before I begin, I will say that I am really pushing Make Noise products, but that's because you can use their products to learn both East Coast and West Coast synthesis techniques. There is lots of great videos covering their products to help you learn some great synthesis theory. So, if i were to do it all over again.... 0 Coast, a Wogglebug, Maths, and maybe some 2 hp reverb/delay modules. Gives you a good start! A great start actually. And you can use all of these modules within your Eurorack system as it grows. I would suggest building your own case with a intelligel power supply if you want to save on a case. Do research, lots of it, before purchasing anything. Buy modules that are flexible and give you lots of bang/options for your dollars.
So why Wogglebug and Maths... they are great cv generators that are extremely flexible in how they can be applied and used within a modular system. Wogglebug can generate random events, and clocking, and cv. It also has oscillators of the experimental nature as well. Maths is Maths...;. and most likely, you will end up with one anyway. 0Coast is great as it has oscillator, stepped cv, clocking, a Maths inspired cv generator, and an AD envelope generator. It has lots of options as to what can be cv controlled by either within its own system or from other eurorack modules.
If you are looking for some modules that are relatively affordable, look at 2hp for your envelope generators, Amp modules, filters, sequencers... etc. Noise engineering also makes some good sequencers that are both flexible and relatively affordable. Happy Music Making.
Thanks for your input! Have decided I'll probably go with the Mother 32 to get my head around basic signal flows and what each module does/ works with other modules and in time begin forming a rack of my own.
Want to thank everyone for their help, I've been a student of music and sound for half my life but only started my journey into modules so appreciate hearing from those more learned than myself :)
